This series links the photographic process to the much older deeply human history of mark-making.I am taking a digital photograph and sculpting it by hand to make a new picture. All photographers turn the 3D real world into a 2D image with their cameras. In this case, though, through cuts, bends, blasts, holes and carvings in the paper, I am taking classic landscapes and portraits and bruising them into 3D objects again. Distressing the photograph may violate the representational spirit of photography but it also opensup our visual world to new interpretations. I'm cutting to create a sense of spatial irresolution. By using a natural landscape, or formal portrait, as a point of departure, I play with the idea of meaning: to the meaning of the original image is added another meaning from the imprints. Then, there is a third layer of meaning produced by their union.
